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Constellations of Jenaerus
The True Folk of Jenaerus view the following clusters of stars as different objects with metaphysical resonance that transforms as they move across the sky. Constellations may be either triumphant, inverse, ascendant, or descendant as they rotate in the sky; as their orientation shifts with the passage of the year, so too do their meanings. Finally, the position of the constellations in the sky may be coordinated onto the cardinal points, and then overlayed on a map of Jenaerus with the diviner's location as the center. The interplay between geography and the constellations is often prophetic in a variety of ways. The DUELLING ÉAN is viewed as two giant eagles or giant owls locked at the talons and spinning in a aerial dance with their wings fanned out behind them. It is primarily a representation of challenge, adversity, and struggle. Important nuances in representation include the Éan's inherent nobility, that their contest is insincere (possibly representational, symbolic), and that their dance (and therefore union) is eternal and recurring. In the inverse, it can represent corruption equal to the purity of the Éan, sincerity in alliance or friendship, and reunion after absence or divergence. The constellation of Air, it governs birds, griffons, couatls, and other noble feathered, flying creatures. It is dominant in Low-Winter because that is the onset of the arc, recurring annually, of the most difficult period of the year: the triumph of death and cold and darkness that is, however, necessary, natural, and customary. The first day of the year, the darkest, is as a result called the New Dawn. The SPEAR OF BRENDALL is viewed as that mighty weapon of the first hero to come from the humans of All-Eth. It is primarily a representation of achievement, subcreation, and triumph. This is the constellation that most governs humanity, although it is also precious to the dwarves and they began the enlightenment of the humans under its sign. The four nuances in representation are all mighty omens. Firstly, the spear is a made item, a byproduct of artifice, and thus flows from the capacity of the mortal races for subcreation; this is also a symbol for civilization as a whole. Secondly, Brendall was the source of profound human victories that determined all of human history on All-Eth, and so is a symbol (for them) of not just ultimate victory but also of of engendering causation itself. Thirdly, this spear was a (mighty) weapon used in battles and hunts beyond counting, including some which ended in the deaths of dragons and other legendary beasts; so it may auger in their fates of weal or woe at the hands of humanity. Finally, Brendall and his spear were ancient, yet not so ancient in that they belong to the world of humans and of history, and so are a powerful symbol of context. In the ascendant, it is usually interpreted as a sign of humanity's endurance and strength, and that the human realms are rising. In the descendant, it is usually interpreted as a sign of humanity's weakness and defeat, and that the human realms are under siege. In the inverse, it can represent enemies of or threats to humanity, especially among dragons and monsters and savage races. It is dominant in Mid-Winter because the onset of trial has been endured, suffering is inherent to life, and in the harshest times of the year it is often mortal artifice -tools and fire and hunting- that allows survival. The GUARDIAN OF THE BRIDGE is viewed as a terrible monster, usually specifically depicted by artists and illuminators as horned, quadrupedal, and reptilian. Folklore, murky from the passing of ages, associates this constellation with spectacular elven and dwarven defeats, especially the two destructions of Arhinur-Fal and the ruin of Fal Eranien; however, it is important to note that the elves and dwarves remain mighty to this day. It is primarily a representation of change, resolution, and enlightenment. Important nuances in representation include the notion that the bridge is a connection between two places and an avenue for motion, the continuance of which is blocked by the presence of the guardian. Triumphant, the monster is "awake" and inverse it is "asleep"; ascendant is "waking" and descendant "falling asleep", respectively. This constellation governs the dwarves and is the first held to govern the elves. It is dominant in High-Winter because that is the final arc of difficulties through which one must pass to reach Spring and the renewal of the land and the self. The RAIN NET is viewed as a net dripping beads of water, and indeed it is that element's constellation. It is often identified with the Diadem of Ninniachel, famous high elven hydromancer and Queen of L'heldreyen (CG female elf Conjurer30), although this is by no means a universal interpretation and it is just as frequently held to not be any actual item. It is primarily a representation of creation/genesis, birth (literal and metaphorical), and adaptability. Important nuances in representation include the centrality of rain to life and the sky to rain; however, rain is also taken in to systems of living things through the ground. Interpretations of windfall, wealth, and generosity are common, and it is frequently taken as a sign that ventures or journeys will be successful or will lead one to success. In the inverse it can represent failure, but also burden, duty, and honor. This is the second of the constellations that is held to govern the elves. It also governs amphibians and fungi. It is dominant in Low-Spring because falling, flowing water is both a prerequisite for and harbinger of the new growth of plant life. Therefore it is the first piece of symbolism that stresses the rise of light, warmth, and life and along with the other two Spring constellations represents the Green Mother in the cycle of the year. The THREE FLOWERS is viewed as a triad of freshly-bloomed flowers. It is primarily a representation of concord, peace, and growth/renewal. Important nuances in representation include that the flowers have emerged and matured (especially in beauty) over time, and that they are all the more splendid for blooming together. From the beginnings of recorded history this constellation has been taken as a diplomatic weathervane, and when displayed triumphant it is viewed as a sign of unity and brotherhood between the mortal races: at first elves/dwarves/gnomes but now frequently elves/dwarves/humans. In the inverse it could represent discord, tumult, and war between those races, with ascending moving away from and descending moving toward such a state, respectively. Many other interpretations, involving changing relations between almost any three of the mortal races, have also been possible at different times. This constellation governs plants, and as flowers were blooming long before there were gardeners and farmers it is also a celebration of nature unfettered, and uncorrupted by the mortal races. It is the third held to govern the elves. It is dominant in Mid-Spring because that, in All-Eth on the northern hemisphere of the planet, is when plant life blooms. It is the second constellation to represent the Green Mother. The YOUNG MAIDEN is viewed as a strong, brave, beautiful elven or human woman. It is sometimes identified with Vendethiel (CG female elf Ranger30), sometimes with Valeth (CG female elf Bard30), and sometimes with Melethiel (NG female elf Druid30). It is primarily a representation of beauty (whether physical, abstract, or spiritual) and innocence. Important nuances in representation include a very wide range of qualities that are associated in the minds of the various True Folk races with the value of women and different ideals celebrating femininity. The maiden's youth is also sometimes used, in contrast, to indicate experience, wisdom, or venerability. Frequently it is associated with new relationships, by no means solely romantic. In the ascendant the young maiden is considered to be prospering; in the descendant her fortunes are declining. In the inverse it usually represents motherhood/mothers or infants/infancy. This is the fourth constellation to govern the elves. Due to the symbolism of the maiden, it is also held to govern mammals. It is dominant in High-Spring because the new life made possible by the Rain Net and begun by the Three Flowers has now achieved fertility and the land is clothed in green. Thus, it is the third and final constellation to represent the Green Mother. The TOWER OF ARALDUIN is viewed as that famous arcane spire: home once to the mighty mage Aralduin and tallest building in Fal Eranien, the ruined City of the Moon. It is primarily a representation of knowledge, glory, and power - thus it is the constellation of Fire, both the outer of the element and the inner of the soul. From this tower in Fal Eranien of old, the lord High Arcanist watched over the dominions of the Moon to see that the various creatures always dwelt there in peace. He watched Carinindale, to see that the geomancers still sang forth the fruits of the soil to feed the fourteen million souls within the city walls; he watched the three Valdanorath trees, the great eyrie-in-the-boughs in which the great eagles awoke at the First Dawn, to see that the Éan still dwelt in friendship amongst the clouds above; he watched Malldorensar, the Heart-Glade where the First Seed was planted before Time, to remember that it had given rise to the Old Wood and filled it with the spirits of the forest and the air. The sheer weight of the might and splendor invoked by these representations is tempered by the fact that the last and greatest High Arcanist, for which the tower was named, not only failed and was killed in the city's catastrophic downfall but even contributed to it by opening gates to Limbo and flooding the wreckage with thousands upon thousands of slaad. In the inverse therefore it represents destruction, even annihilation. This interplay between majesty and oblivion is the core of much of the oldest Jaen symbolism. This is the fifth and final constellation to govern the elves; it also governs the fey (because the first High Arcanist allied the elves with the fey). It is dominant in Low-Summer because it begins with the brightest and longest day of the year, called the Crown of Glory: the triumph of light, warmth, and life. However, immediately the continuance of the arc back to the New Dawn is implied. The SEA SERPENT is viewed as one of the mighty ocean-drakes, its head held proudly above the waves and, evenly-spaced behind, coils jutting from the water. It is primarily a representation of pride, ferocity, and alacrity. Important nuances in representation usually hold this constellation as a symbol for Father's Sea (and the Blue Father in Elrador), the sun and sunlight (especially on water), and great visibility, or even centrality, to the age in which one lives. In the inverse it represents greed and sloth. This constellation governs dragons, reptiles, and fish; it additionally is the most important constellation to mariners and its status as ascendant or descendant is held to be an omen of weal or woe respectively for their travels. It is dominant in Mid-Summer because that has always been the month, since time out of mind, when the elves launched their great voyages across Father's Sea. The BUSHEL is viewed as a wicker basket full of crops or produce. It is primarily a representation of the harvest, the first of which is brought in at the close of High-Summer, but also of bounty/plenty/gifts in general. Important nuances in representation are overall connected to agrarianism and farmers (above all in the human lands), villages and the countryside, the landed nobility (especially knights in Nalthand), and the collectivist communal rural ethos. Even older and more profound are its representations of the cycles of the land that turn the wheel of nature, and the druids who tend to them; the continuance of symbolism from ancient druidic myth to agrarian human folklore suggests that the two worlds inform each other far more poignantly than most realize. It therefore contrasts with and comments upon the symbolism of the Three Flowers and the concept of nature unfettered. In the inverse it represents poverty, or the threat to existing prosperity. It is dominant in High-Summer not only for the reasons above but also as a final "thanksgiving" for the months of green and growth that are now drawing to a close: a reminder that times of plenty must be treasured and their fruits preserved for when the days inevitably grow harder and leaner. It governs the halflings; it also governs the countless multitudes of small, crawling and flying creatures that dwell in the world and are themselves a Bushel of a different sort (it must be said that the halflings are fond of being governed by the same constellation as worms and beetles). This is the last symbol in the arc of the growing months that began with the Rain Net, for ultimately it was its waters that nourished the Bushel. The WAGON WHEEL is viewed as a series of spokes in a wheel radiating outward from a central axle. It is primarily a representation of traveling (in many ways), journeys, and development (as of actions and courses). It is the most important representation of both directed action -the ability to influence the world- and the purpose that informs such direction. As it is wholly circular and symmetric, it is the only constellation that is identical throughout its rotation in the sky without being triumphant, inverse, ascendant, or descendant; this is because every time is always a fortuitous one for some movement in some way: total stillness is only for the grave. It is the most important constellation for wanderers, travelers, and rangers; it is also the constellation most held to govern dreams, and those gripped by them (both literally and metaphorically). It is dominant in Low-Autumn because that is the turning of the great journey (one's passage through the year) toward the times of darkness, cold, and death. Therefore, the movement of the wagon wheel is an important reminder that because this arc is the result of inevitable turning, by the same token these things too shall pass in time. It is the constellation of Earth because it is the middle of the three months in which the harvest is gathered; and though the Earth begins to go to sleep in this time it, like the self, will survive the tribulations to come. WOUTER OF THE WOOD is viewed as that famous Praethian warrior. In an age long past, Wouter (CE male human Fighter30, now N) was a warlord dreaded as much for his skill at arms as for the profound charisma that marshaled his hordes to victory. Wouter existed in a state of absolute rebellion against the powers that governed both the mortal coil and the Great Spiral. He brought ruin to the Protectorate of Praethon, the oldest surviving human realm in All-Eth, founded by the celestials as a safe haven in which the humans scattered by the Exile dwelt unharmed. Wouter was pleased, as he felt the celestials' sacred work was being undone; and at the head of his armies he laid waste with fire and the sword to eastern Nalthand and western Atheria for decades before leading a vast host of men, wizards, automatons, and engines to the Outlands for a blasphemous invasion of Mount Celestia. Wouter's great host stepped into the Silver Sea that day and did battle with the celestials; Wouter and the finest of his captains threw their vanguard back at the end of the first shock. Wouter then gained access to the shore, and the sacred fountain that he sought: the headwaters where the freshwater rivers of Mount Celestia at last all flowed together to feed the Silver Sea. Completing his rebellion, Wouter drank from the headwaters of the Silver Sea, thus stealing for himself the immortality that he craved; but the waters also redeemed him, and filled with regret at his deeds and shame for his life he lifted the siege, forsook his axe, denounced the world as corrupt, and retired to the forest where he dwells at peace as the Green Man to this day. Wouter's fate and journey (Chaotic Evil overwhelmed by Lawful Good, yielding to True Neutral) are primarily a representation of the Great Spiral, of the very concepts of duality and opposition, and of redemption. Ever since, this constellation has also been the primary representation both of Praethon and the celestials. In the inverse -as a warning, and a terrible one indeed- it represents greatness of power undergoing (or having undergone) the reverse of Wouter's experience: from concord to rebellion, and unpleasantly enough, with inescapable overtones that the fiends are (or were) responsible. Many interpret this duality as a sign that the destruction of the Great Spiral by the fiends is as likely an outcome as its redemption by the celestials. If so, it is mortals -like Wouter- who will be a weight falling on even scales. It is dominant in Mid-Autumn because, like Wouter attacking Celestia, it signifies the approach of the absolute nadir and greatest darkness. The LANTERN is viewed as a wax candle burning within an iron latticework. It primarily represents time, endings (and beginnings), and death (devoid of mortal fears, and not just of the body). Important nuances in representation include much symbolism related to light (especially as it waxes and wanes throughout the year), the rising and setting of the sun, and the ending of both the life begun during the Rain Net and the relationships begun during the Young Maiden. In chronological interpretations, its role as the last month of one year ending immediately before the first of another is a mirror of the rise and fall of races, nations, and empires. In the inverse it is a representation most directly of new beginnings, although the Lantern's emphasis on the cyclical nature of time means that there is always some ambiguity. Due to the themes of light and time -and their roles as representations of both abstract thought and illusion- this constellation governs the gnomes. It is also anathema to undead and its display, especially in alabaster, increases the power of clerical turning. It is dominant in High-Autumn because that is considered the darkest month of the year, approaching the New Dawn (as the mirroring days in Low-Winter, although very dark, are lightening). This shows that the memory of light is preserved right until it is extinguished; and even as one light goes out, another may be kindled into flame. Category:Cosmology